John Farr discusses the best Sylvester Stallone movie, written and directed by James Mangold.

Cop Land (1997)

What It’s About:Half deaf Freddy Heflin (Sylvester Stallone) is sheriff of a quiet New Jersey suburb whose residents include a large percentage of New York cops, including local hot-shot Ray Donlan (Harvey Keitel). When a crime occurs on his turf involving Donlan and his other policeman buddies, Freddy investigates and is soon on to a conspiracy which could cost him his friendships and his life.

Why I Love It: Stallone wisely took the nuanced, meaty role of Freddy as a change of pace from his usual comic book hero parts, and he is surprisingly good here. Keitel also scores as the crooked cop with the most to lose who vastly underestimates Freddy’s determination. Liotta also excels in an intense performance as Freddy’s only friend. Smart and suspenseful, “Cop Land” is one crime drama that’s criminally under-rated.

John Farr discusses the movie that won Dustin Hoffman his first Oscar, directed by Robert Benton.

Kramer vs. Kramer (1979)

What It’s About:On the brink of a big promotion, caffeinated, pre-occupied ad-man Ted Kramer (Dustin Hoffman) gets the wind knocked out of him when wife Joanna (Meryl Streep) abruptly announces she’s leaving him and their young son, Billy (Justin Henry). Facing the sudden need to balance career demands with caring for a young son he barely knows, Ted makes the hard choices necessary to be there for Billy. But when Joanna returns unexpectedly, a nasty custody battle ensues. Under these circumstances, can anybody win in the end?

Why I Love It: In 1979, Hoffman hit a career high point, and Streep solidified her own stardom, with director Benton’s near-flawless marital drama, depicting the dissolution of a marriage with unerring sensitivity. Touching performances from all three leads help bring an insightful script to heart-wrenching life. At Oscar time, “Kramer” won Best Picture, Benton took the honors for both direction and screenplay, Hoffman nabbed Best Actor, and Meryl scored her second consecutive nod, this time taking home the statuette for Supporting Actress.

John Farr discusses the powerful political thriller starring Burt Lancaster, directed by John Frankenheimer.

Seven Days in May (1964)

What It’s About:Outraged that US President Jordan Lyman (Fredric March) has signed a nuclear disarmament treaty with the Soviets, Gen. James M. Scott (Burt Lancaster) plots a coup d’etat with other Joint Chiefs of Staff. Lyman is alerted to the conspiracy by Scott’s aide, Col. “Jiggs” Casey (Kirk Douglas), and races against the clock to neutralize the general’s traitorous plan.

Why I Love It: Two years after “The Manchurian Candidate,” director Frankenheimer scored again with this gripping political thriller. Beyond serving as a showcase for two frequently paired stars – Lancaster as a power-mad general, Douglas as the principled whistle-blower, the movie works because in the context of the paranoic Cold War era, the premise feels all-too-plausible. Stark black-and-white photography and brisk pacing only add to the film’s breathless tension. Screenplay by Rod Serling, based on Fletcher Knebel’s book.

John Farr discusses first of five Howard Hawks/John Wayne features.

Red River (1948)

Bitter, unyielding cattle breeder Tom Dunson (John Wayne) has been forced to take his large herd through treacherous territory to save his business. His adopted son Matthew (Montgomery Clift, in his film debut)-orphaned years ago in an Indian massacre-joins him, but when the two cross swords over Dunson’s obsessiveness, the older man loses his powerful temper and expels his ward, vowing to kill him if and when he next sees him.

Why I Love It: Director Howard Hawks gave western icon John Wayne another indelible, ruggedly stubborn character to play in his masterful “Red River,” a high point of their many collaborations. Populated by colorful supporting characters, including the salty Walter Brennan as camp cook Groot Nadine, “River” combines psychological drama, action, and suspense in a stirring, expansive western landscape. The final settling of scores between Wayne and Clift is unforgettable.

John Farr discusses one of Bette Davis’ classic films, directed by William Wyler.

The Letter (1940)

When Leslie Crosbie (Bette Davis), mistress of a rubber plantation in Malaysia, shoots and kills a male friend who pops in and makes advances, trusting husband Robert (Herbert Marshall) wants to protect his shaken bride as best he can. But close friend and lawyer Howard Joyce (James Stephenson) is suspicious of Leslie’s story, owing to the existence of an incriminating letter in the possession of the victim’s Eurasian widow (Gale Sondergaard).

Why I Love It: Adapted from a story by W. Somerset Maugham, “The Letter” is a taut, riveting suspense picture. After the huge success of 1938’s “Jezebel,” director Wyler was asked to helm another Davis picture- and again he hit pay dirt, crafting a dark, sultry atmosphere that complements all the scandalous intrigue. Davis is tops as the lady we love to hate, and Sondergaard’s wordless turn as the wronged woman nearly steals the show. (Trivia note: Wyler, Davis, and Marshall would all reunite the following year for “The Little Foxes”).